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Popular Classical Music
- Thread starter Light - Man
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goldtuba
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Edward Elgar - Enigma Variations (Warsaw Philharmonic Orchestra, Jacek Kaspszyk)
Head1
Headphoneus Supremus
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Granados - La maja y el ruiseñor ( The maiden & the nightingale ) - Alfredo Armero Goyescas
(A direct link as the intro is too long)
(A direct link as the intro is too long)
Head1
Headphoneus Supremus
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Chopin (Arr.: Roy Douglas) - Les Sylphides
(00:05) 1. Prelude (Op. 28, No. 7)
(01:07) 2. Nocturne (Op. 32, No. 2)
(07:06) 3. Waltz (Op. 70, No. 1)
(08:55) 4. Prelude (Op. 28, No. 7)
(11:41) 5. Mazurka (Op. 33, No. 2)
(14:08) 6. Mazurka (Op. 67, No. 3)
(16:07) 7. Waltz (Op. 64, No. 2)
(20:31) 8. Waltz (Op. 18)
(00:05) 1. Prelude (Op. 28, No. 7)
(01:07) 2. Nocturne (Op. 32, No. 2)
(07:06) 3. Waltz (Op. 70, No. 1)
(08:55) 4. Prelude (Op. 28, No. 7)
(11:41) 5. Mazurka (Op. 33, No. 2)
(14:08) 6. Mazurka (Op. 67, No. 3)
(16:07) 7. Waltz (Op. 64, No. 2)
(20:31) 8. Waltz (Op. 18)
Light - Man
Headphoneus Supremus
Short but sweet
Joaquin Rodrigo "De los álamos vengo, madre" - Maria Bayo
and again this time recorded at a duck pond in Montreal (when it was not snowing)
Soprano: Suzanne Rigden, piano: Francis Perron.
Joaquin Rodrigo "De los álamos vengo, madre" - Maria Bayo
and again this time recorded at a duck pond in Montreal (when it was not snowing)
Soprano: Suzanne Rigden, piano: Francis Perron.
Light - Man
Headphoneus Supremus
A very nice performance of a beautiful piece
String Quartet in F Major, Op. 96, "American" by Antonín Dvořák - Lento (second movement)
String Quartet in F Major, Op. 96, "American" by Antonín Dvořák - Lento (second movement)
Light - Man
Headphoneus Supremus
Pokemonn, hope them ribs are healing up nicely! (bad grammar I know)
Absolutely love this song especially when Kathleen Battle sings it
In Trutina (from Carmina Burana)
and another version by her worth watching
and of course our Hayley also does a cracking job of it
Absolutely love this song especially when Kathleen Battle sings it
In Trutina (from Carmina Burana)
and another version by her worth watching
and of course our Hayley also does a cracking job of it
Head1
Headphoneus Supremus
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Basil Poledouris - Robocop
Light - Man
Headphoneus Supremus
OOPs! what have you started?
Last edited:
Head1
Headphoneus Supremus
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^ I wonder what Prokofiev could have composed for sci-fi films. Some typically mechanistic music from him:
Piano Concerto No. 3 - Martha Argerich, Riccardo Chailly / Royal Concertgebouw Orchestra
I. Andante - Allegro (00:00)
II. Tema con variazioni: Andantino (09:26)
III. Allegro, ma non troppo (19:15)
Piano Concerto No. 3 - Martha Argerich, Riccardo Chailly / Royal Concertgebouw Orchestra
I. Andante - Allegro (00:00)
II. Tema con variazioni: Andantino (09:26)
III. Allegro, ma non troppo (19:15)
Light - Man
Headphoneus Supremus
Last nights Friday the 13th concert from the NCH Dublin (YT link usually only lasts 6 days)
RTÉ National Symphony Orchestra
David Brophy conductor (replacing Ben Gernon)
Carolin Widmann violin
Ravel Le tombeau de Couperin / 17'
Korngold Violin Concerto in D major, Op.35 / 24'
Beethoven Symphony No.7 in A major, Op.92 / 36'
A vivacious, Baroque-infused celebration of life; a ravishing concerto by the greatest film composer of Hollywood’s Golden Age; and a symphony – some of which you may know from the film The King’s Speech – in which hope triumphs over adversity. Carolin Widmann, the violinist with the 'rapturous tone' (The Telegraph), will be the soloist in Korngold’s Violin Concerto. David Brophy, stepping in at short notice for Ben Gernon who has withdrawn due to illness, will conduct.
Begun in 1914 as a suite for solo piano, Ravel’s Le tombeau de Couperin (‘The Tomb of Couperin’) was completed in 1917 shortly after his mother’s death. Two years later, Ravel orchestrated four of the six original movements. Its title refers to a 17th-century fashion for tombeau – works of commemoration. If the initial inspiration of the French Baroque composer François de Couperin’s gracefully brittle and beautiful music implied a degree of nostalgia, Ravel refused to indulge in sentimentality. Nor was it, despite each of the movements being dedicated to friends who died in the Great War, a work of sorrow. If anything, it boasts a vivaciousness that speaks of lives lived to the full, a quality lent added eloquence by the borrowing of animated forms from Baroque dance music. Responding to criticism of the work’s tone, Ravel pointedly remarked: ‘The dead are sad enough in their eternal silence’.
Declared at the age of 10 by no less a figure than Gustav Mahler as ‘A genius, a genius!’, Erich Wolfgang Korngold was part of that unfortunate generation of European composers who fled Nazi persecution in the 1930s to safety in the United States. There, they were to put their talents, honed in the great concert halls of Europe, towards creating and defining a new genre: the Hollywood soundtrack. Composed in 1945 when Korngold was at the height of his powers, the Violin Concerto is a lush, lyrical creation overflowing with haunting melodies, rich harmonies and an unfettered sense of romantic passion. Each of its three movements weaves together passages from earlier film scores – the first from Another Dawn, the second Anthony Adverse, the third The Prince and the Pauper – with wholly original material. The result is a glorious, ripely romantic, often exquisitely moving affair shot through with irresistible dramatic flair.
Famously hailed by Wagner as ‘the apotheosis of dance’, Beethoven’s Seventh Symphony opens with dark foreboding but moves towards an exhilarating climax described by Tchaikovsky as ‘a whole series of images, full of unrestrained joy, full of bliss and pleasure of life’. The transition is all the more remarkable for the context in which it was composed between 1811 and 1812. With the Napoleonic Wars engulfing Europe, Beethoven’s deafness was now acute and his emotional life – he had fallen in love with a married woman – in turmoil. All those experiences find voice in tumultuously lyrical music whose harmonic innovations re-wrote the rule book for generations of composers who followed. Its grave second movement is heard to fine effect in the film The King’s Speech.
RTÉ National Symphony Orchestra
David Brophy conductor (replacing Ben Gernon)
Carolin Widmann violin
Ravel Le tombeau de Couperin / 17'
Korngold Violin Concerto in D major, Op.35 / 24'
Beethoven Symphony No.7 in A major, Op.92 / 36'
A vivacious, Baroque-infused celebration of life; a ravishing concerto by the greatest film composer of Hollywood’s Golden Age; and a symphony – some of which you may know from the film The King’s Speech – in which hope triumphs over adversity. Carolin Widmann, the violinist with the 'rapturous tone' (The Telegraph), will be the soloist in Korngold’s Violin Concerto. David Brophy, stepping in at short notice for Ben Gernon who has withdrawn due to illness, will conduct.
Begun in 1914 as a suite for solo piano, Ravel’s Le tombeau de Couperin (‘The Tomb of Couperin’) was completed in 1917 shortly after his mother’s death. Two years later, Ravel orchestrated four of the six original movements. Its title refers to a 17th-century fashion for tombeau – works of commemoration. If the initial inspiration of the French Baroque composer François de Couperin’s gracefully brittle and beautiful music implied a degree of nostalgia, Ravel refused to indulge in sentimentality. Nor was it, despite each of the movements being dedicated to friends who died in the Great War, a work of sorrow. If anything, it boasts a vivaciousness that speaks of lives lived to the full, a quality lent added eloquence by the borrowing of animated forms from Baroque dance music. Responding to criticism of the work’s tone, Ravel pointedly remarked: ‘The dead are sad enough in their eternal silence’.
Declared at the age of 10 by no less a figure than Gustav Mahler as ‘A genius, a genius!’, Erich Wolfgang Korngold was part of that unfortunate generation of European composers who fled Nazi persecution in the 1930s to safety in the United States. There, they were to put their talents, honed in the great concert halls of Europe, towards creating and defining a new genre: the Hollywood soundtrack. Composed in 1945 when Korngold was at the height of his powers, the Violin Concerto is a lush, lyrical creation overflowing with haunting melodies, rich harmonies and an unfettered sense of romantic passion. Each of its three movements weaves together passages from earlier film scores – the first from Another Dawn, the second Anthony Adverse, the third The Prince and the Pauper – with wholly original material. The result is a glorious, ripely romantic, often exquisitely moving affair shot through with irresistible dramatic flair.
Famously hailed by Wagner as ‘the apotheosis of dance’, Beethoven’s Seventh Symphony opens with dark foreboding but moves towards an exhilarating climax described by Tchaikovsky as ‘a whole series of images, full of unrestrained joy, full of bliss and pleasure of life’. The transition is all the more remarkable for the context in which it was composed between 1811 and 1812. With the Napoleonic Wars engulfing Europe, Beethoven’s deafness was now acute and his emotional life – he had fallen in love with a married woman – in turmoil. All those experiences find voice in tumultuously lyrical music whose harmonic innovations re-wrote the rule book for generations of composers who followed. Its grave second movement is heard to fine effect in the film The King’s Speech.